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Post by Coil Audio on Jan 24, 2024 0:48:44 GMT -6
The man, the myth, the vapejuice
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Post by Coil Audio on Jan 24, 2024 0:48:20 GMT -6
I have 3 x Type 19's and 2 x H47Ts I'm curious for the Type 21 - Heiserman capsules never disappoint. The type 19 is great - I have one now married to my outside kick, as it beats everything else. The transient response is amazing. You should hear it paired with a CA-70 in that position. Wowza
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Post by Coil Audio on Jan 23, 2024 21:28:55 GMT -6
Leave it turned on for 2-4 days and then listen Yep
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Post by Coil Audio on Jan 23, 2024 21:27:04 GMT -6
It’s killer. Everyone should have a pair of those and a pair of the type 19s.
Not a huge fan of transformer-less mic designs but Wave Dealer really knocked both of them out of the park. ‘Stunning’ is the word id use.
Less crap in the path etc.
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Post by Coil Audio on Sept 24, 2023 10:33:00 GMT -6
I appreciate the response, Coil Audio . Here's the part I don't understand: "Regarding the 48v supplies. We chose to keep this off our preamps because adding proper 48v would have been cost prohibitive to not only us, but the end user as well." I can see how adding a 48v line from the PSU would create a slight amount of additional cost but, relative to the cost of the preamp, I don't see how it could be be "prohibitive". You've already got a really nice linear supply in the preamp -- that additional 48 volt rail just doesn't add up to much. The "blocking cap path configuration" sounds nice and probably adds a small cost... However, a completely separate unit, with a completely separate PSU (transformer, regulator, etc) and case -- now that adds up -- and is cost prohibitive to the user. I think you should just incorporate it into the single channel boxes and add a small fee. My $.02 Nah - we're good. thanks
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Post by Coil Audio on Sept 21, 2023 13:56:20 GMT -6
The CA70 blows my mind as well . . . If I were to start anywhere with Coil, it would be buying one channel like this: coilaudio.com/ca70s.html So, what is everyone doing about phantom power? The stand-alone Neumann Phantom Power Supply units used to be an industry standard, back when dinosaurs roamed the earth . . . what's a cost-effective solution today? Sorry to hijack the CA286 thread, but thought I’d chime in on the 48V. First off, thanks for all the kind words regarding the CA286 and CA70. We love our negative feedback too… Regarding the 48v supplies. We chose to keep this off our preamps because adding proper 48v would have been cost prohibitive to not only us, but the end user as well. That’s why we decided to create a separate unit, do a highly regulated and filtered real linear supply, and have it as an option for users who needed it. For every studio I’ve worked at or designed over the years, I’ve always kept phantom power in the live room as was initially intended by the designers of the phantom standard. Having 48v come all the way from the control room, through patch bays and long cable runs is a recipe for disaster unless in a highly controlled and well designed environment. Blown ribbons, magnetized dynamic mics, and ground/buzz issues galore. Also, having 48v come from from “stepped up” 15v (500 series) isn’t ideal either, and can’t always keep up with current demand depending on your 500 rack’s power supply. The current industry wide “48v Spec” is actually 11-52v, so some “phantom/48v” supplies only proved 15 or so volts. Our intention was not to create some revolutionary new 48v supply. It’s nothing fancy or gold plated, just a very well built linear regulated power supply made with great components, and designed with lots of “gas in the tank”. Having this much current in reserve keeps mics from crapping out when large low end (kick drums) or sharp hi end transients (think glockenspiel) come through the mic. The power supply can’t keep up, and the mic will crap out as it asks for more current due to the loud transients. Between the large current reserves, and the highly regulated voltage, it translates into way more headroom, and a stiffer response from the microphone. We’ve definitely had people respond that they didn’t realize how much actual headroom their microphones had. They had been padding stuff trying to deal with distortion, or thinking their mic couldn’t handle the SPL’s, when in reality, it was just crappy phantom. They also talked about the improvement in top end response and openness due to the way we configure our DC blocking caps. Ideally, you want to block the 48v from passing to the input of your preamplifier. This can damage transformer-less input sections, and magnetize and ruin some vintage transformers. A “shall remain nameless” company that racks vintage modules ruined 100’s if not thousands of vintage telefunken and neumann preamp input transformers with improperly implemented 48v with no blocking caps or transformers. We use a very special blocking cap path configuration that uses special hi end, and non inductive audio caps. These are directly in the signal path so you have to use good stuff here, and don’t want inductive stuff in the audio path creating weird ringy resonances.. As far as the ramping 48v, this is just to keep from slamming your mic with instant 48v, which isn’t ideal for the internals. It also keeps it from creating annoying pops when powered on. That’s all I got, and thanks again for all the kind words… JimV
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Post by Coil Audio on Jun 4, 2022 13:22:16 GMT -6
From my understanding, the original Unfairchild used 6BA6s and this version is preferred by some...the MKII switched to JJ 6386s, and in order to preserve the lifespan of the tubes, runs them at 100V instead of 240V like the original 670...so while it's preserving the lifespan of the tubes, it's not really getting the Fairchild sound...I've also heard the transformer on the Unfairchild leaves something to be desired...I've heard from 3 people that have sold their Unfairchild for the Vacuvox U23s and were thrilled with their choice. The POM and AT-101 also seem to be favored. Unfortunately that is the case. Our last run in with one was at an LA tracking session in 2019 - we asked the house guy to put something on the 2-mix and he patched a brand new one in. We looked at each other and said "Is it On?" to which the house guy replied "oh yeah, isn't it great!?" - when he left the room we patched over to a 33609 or something that would just work for the time being. Total bummer. All this said, we are very spoiled as we've been using a factory stock 670 that was brand new (still in the crate) from when the Berlin wall fell. When signal hits it - it's a visceral experience. Immediate enhancement. It should be noted that it has been turned off maybe a handful of times and the only tubes that ever needed replaced were ones in the sidechain amplifier - so when folks go on about all the service these require and tube replacements, we chuckle a bit. In our experience it's the 670s that were tech raped by someone high on coke in the 80's that need the most help and subsequently what some 'cloners' base their clone's design/tonality from. These are typically the same folks that claim there is no difference between NOS tubes and JJs in circuits like these too. #beancounters
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Post by Coil Audio on Jun 3, 2022 23:49:20 GMT -6
The Pom is a great design - modernized and well thought out. Analoguetube AT-101 is essentially a complete replica and executed perfectly. Both are absolutely the best sounding takes and about as close to the original as one can get these days. Everything else is a costume party IMHO. Have you tried/heard the Unfairchild by chance? Yes, and the experiences were mixed. There is certainly a difference between the first run of 100 and later (current?) builds. It’s just not a forgiving circuit to cut corners on.
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Post by Coil Audio on Jun 1, 2022 20:04:10 GMT -6
The Pom is a great design - modernized and well thought out. Analoguetube AT-101 is essentially a complete replica and executed perfectly. Both are absolutely the best sounding takes and about as close to the original as one can get these days. Everything else is a costume party IMHO. Thoughts on the Vacuvox U23s? Not exactly a Fairchild from what I understand, but seems to be up there with the best vari mu comps out there. No personal experience with the Vacuvox but we know of a few customers that use them and seem to enjoy. Mastering guy Dave McNair is one and i believe Hunter (roundbadge) also has a pair. I would say they are implemented (by Dave at least) in the same manner one would use a Fearn VT-7 or the like , that is, for a nearly transparent result.
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Post by Coil Audio on May 26, 2022 13:02:39 GMT -6
Pom’s 670 MK2 is the best value, best sounding. hand built Fairchild clone available. His Pye clone is insanely good too. The Pom is a great design - modernized and well thought out. Analoguetube AT-101 is essentially a complete replica and executed perfectly. Both are absolutely the best sounding takes and about as close to the original as one can get these days. Everything else is a costume party IMHO.
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Post by Coil Audio on May 26, 2022 12:45:51 GMT -6
Totally OT but a recent discovery is a Stager SR-5 on snare. Pretty tasty.
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Post by Coil Audio on Mar 11, 2022 19:51:57 GMT -6
Hey RGO'ers Big Steve from Coil Audio here - Our pal, mentor, and actual rocket scientist, Jack Rock, has a small batch of his 'Emotion Machine 175' comps available for sale and John K thought we should post about them here to see if there are any interested parties. These are handbuilt using NOS iron and tubes and include a special mod from Jack that makes the Attack and Release more reactive than the stock original. Other than that - this is a true stock 175. If you are at all familiar with these then you know how incredible they sound. When compared to the new VK reissue - we laughed out loud - seriously. Jack uses 6BC8s for these typically but there is a pair of them available with 6386s if anyone has that itch. Prices are $3500 for the 6BC8 version and $3700 for the 6386 version (update: i think maybe only one is available now and the other spoken for) He can also match pairs if needed. Jack usually makes about a dozen or so a year and has a cache of the NOS iron and tubes so anyone with any interest can usually secure one by simply contacting us at anytime via email **info@coilaudio.com** I'll try to field any questions here but feel free to drop us a line for a quicker response as im still in the shop shipping last minute Coil orders. Fun sidenote: He's also building an exact clone of his stock Fairchild 670 (that came new in the box from a rural German radio station) that we have enjoyed and made countless records with over the last 20 years. When i say exact - we're talking right down to the special saturating filament transformer. Its super impressive and we'll post some pics of it when it wraps for everyone to drool over. Happy Holidays! <button disabled="" class="c-attachment-insert--linked o-btn--sm">Attachment Deleted</button><button disabled="" class="c-attachment-insert--linked o-btn--sm">Attachment Deleted</button> You guys just want one here in KC to demo right 😎 Feel free to make an offer on the entire showroom!
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Post by Coil Audio on Mar 11, 2022 19:48:45 GMT -6
I know this site has strict no-spam rules but I am hoping that John will let this slide because it's so unusual. I have one of these compressors currently for sale on Reverb. I don't think Jack is still making these, so if you ever wanted one of his 175 units, this is a very good opportunity to pick one up at a very reasonable price. reverb.com/item/51884781-nos-universal-audio-175-clone-by-replica-electronics-emotion-machinesThanks in advance John for allowing me to share this link with the community. Already gone? It is Indeed gone already - these all sold at lightning speeds when they were available and from what Rip has told me is that he would of kept it if it could be modified for European AC mains. Which it cannot (at least not easily). Im afraid that is the last batch of EM175's (at least for a while) as Sir Jack Rock is recovering from some health stuff. He just finished a stock 670 made from entirely NOS parts (sans the chassis/faceplate) - hand wiring every little piece himself to replace the one he sold recently to a collector (one he purchased New in the Box from a rural radio station's service closet in East Germany when the Wall came down) - it'll be sad to see that one go (buyer was nice enough to allow Jack to keep it while he built the new one) but the new one sounds just as golden. if not a bit better - Anyway, if for some reason he does do another small batch -we'll toss up a post.
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Post by Coil Audio on Mar 11, 2022 19:31:01 GMT -6
Whew….I wouldn’t pay $400 for one to use….just flip! YMMV. Yeah…and I’m the tube guy….. We had a pair of (real) 175b’s at the studio and I just couldn’t get on with them. I used to try them all the time on different sources and I was always confused as to what the hype was all about. I always just thought I was a dunce. Not saying I’m not, but nice to know somebody else doesn’t get it. Hmmm - someone probably did something stupid to it (them). Pretty common for shade tree 'techs' to mess with these for absolutely no reason. There was also a few diff. stock versions (bill putnam was a cheapskate) I've heard the same type of commentary when referring to 670 or 660s that had been 'serviced' by a certain west coast tech personality. Rule of thumb with gear of this pedigree- if it doesn't sound better immediately it's probably broken, the user is ignorant in how to interface with it, or it's been serviced poorly - or a mix of all three. We used a UA175 on almost all Spoon vocals, Patty Griffin vocals, ....and You Will Know Us By The Trail of Dead etc. etc - the list is endless. We didn't use it because "it was cool" - we used it because it sounded great, like a tube 1176. Noticeably better upon entry - but as with all things YMMV
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Post by Coil Audio on Jul 26, 2021 9:14:55 GMT -6
I was wondering when Louis would enter the chat
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Post by Coil Audio on Feb 9, 2021 13:53:51 GMT -6
The 286 is based on the late 50’s-60’s Gates console preamps, no? Made with both 5879’s then ef86’s later. Tiny transformers on the Gates, bigger upgrades on the Coil. Those things needed improving! It was always claimed that EF86's had a noise advantage over 5879's, I can't corroborate that, never had a problem with a 5879 circuit. I put negative feedback gain control in the Collins rack dreamsambas now owns, so they’ll go softer too. Oh Yeah. Those are hot Doug, and WAY cheaper than langevins, and sound just as good in my opinion. My buddy Jack at Texas Treefort racked a bunch of those with the NF tweak also. He called it his "soul knob" mod. We did indeed start with something very similar to those gates booster amps. We initially were going for a 5879 pre that used a combination of elements from the 5117/356, the V72, and the gates unimote era of 50-60s. The gates circuit is what gave us the idea to use the ef86 instead of the 5879. And yeah, those tiny outputs on the gates were pretty poopy. The mic inputs on the other hand were quite good, like an vastly improved utc 0-1(not that they're that great). We actually tracked down the maker of those inputs (and lot of other gates custom transformers), and tried to get them to make them for us again. Unfortunately, they make lighting ballasts now and weren't interested in dealing with audio transformers anymore. We did procure some interesting documents though...
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Post by Coil Audio on Feb 9, 2021 12:56:02 GMT -6
Seriously, what a great, informative post. Love learning about the origins ofI'm curious about the Coil 286 circuit. What preamps is it based on / inspired by? I have some Collins 356a pres (purchased from EMRR/Doug) that I love to death. How similar is the 286? I think there might be a Coil CA70 or two in my future... Thanks for the kind words! The Collins 356a is almost identical to the Langevin 5116, which are both excellent and punchy sounding amplifiers. When I was still mostly recording to 2" 16trk, a rack of 6x 5116s was my go to for drum close mics. Both the 356a and 5116 have a very complex negative feedback circuit using a special separate "tertiary" winding on the output transformer. It was designed to cancel out as much circuit distortion (harmonics) as possible. By adding the output transformer into the NF mix, you not only get the standard cancelation of any tube "distortion" in the circuit, you also cancel out the non-linearities of the output transformer. This is why those amps sound so clean and hifi without a lot of harmonics, and look amazing on the scopes and distortion meters. It's also why they're incredibly tight and punchy for a tube amp. Having that much "full circuit" neg feedback really helps the drive of the output, which gives it that very solid/dense sound like a v72(which also lots of neg feedback). Our CA286 is VERY close to these circuits, but without the tertiary Neg Feedback arrangement like the 356a/5116. Our NF comes from right before the output transformer (same with V72), so you can still get the good output saturation when and if you want it. You can also steer it into a tight output like all of the above with increased NF and get it to sound VERY similar to a V72. Only other real difference is we use EF86s instead of 5879s, which can be a little too clean and hi-fi in my opinion. We love the ef86s, they're electronically identical to the ef804 in the v72. They're loaded with lovely rich harmonics, pretty much the french food of vacuum tubes. Think butter, pork fat, duck confit, etc...
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Post by Coil Audio on Feb 9, 2021 11:55:15 GMT -6
Great CA-70 info thehightenor. I know what mean, I have a CA-70S and want to add a CA-286S. I recommend experimenting with running your solid state pre-amps into the CA-70s. It doesn't always work, but sometimes it's great. Doug, I still have the chance to switch to the PS6 rack and start with a CA-70 module instead of the stand alone and then add a 286 module. I'm balanced between the pro's and con's Pros, I get the extra Hi Frequency roll off knob (at the top of the modules) for the NF circuit (not included on the stand alone) and the ability to swop out transformers - though I have no idea how valuable that is. Con's - over and above the extra cost, I'm concerned that the modules are individually switchable and when I'm using the CA70 for an all day vocal tracking session the 286 is just sat their cooking away but doing nothing. Unless those Mod 1-3 Mod 4-6 switches on the PS6 allow you to turn off the modules in banks of three - it isn't clear on the Coil website if that's how it works with the PS6. Currently I'm only tracking one source at a time - unfortunately I have no space for real drums or piano -so probably the rack is a bit OTT I'm just stuck between the pro's and con's list. I'm so taken with the CA-70 I've got serious GAS for the 286! @hightenor - the "Mod 1-3 and Mod 4-6" switch is for how many modules are in the PS6 rack tray (its a filament regulator for the amount of modules in the rack - to preserve tube life etc). In the scenario you are describing - If you wanted to not power unused modules in the tray you would simply pull out the module an inch or 2 thus removing it from its power/signal connections. Hope that makes sense.
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Post by Coil Audio on Feb 9, 2021 0:19:19 GMT -6
Hi Everyone. Jim Here from Coil Audio. A friend of mine saw this thread and said it would probably be cool if I popped over here to chime in. I don’t get a chance to hop on here very often, so I figured I’d try and squeeze it all in in one giant long winded breath……. As far as circuit design, we’re using a very simple, two stage, single ended design. Input transformer->tube->cap->tube->cap->output transformer. Western Electric developed it right after they bought the patent for the Audion (1st vacuum tube) from De Forrest in 1912. Between 1913-15 they developed a big pile of what would become the basic form of pretty much every audio circuit, one of which was the two stage single ended east west repeater amp designed for boosting telephone lines from coast to coast. Like Doug mentioned, our CA70 is based on Gates Radio’s 1940-50s version of that circuit as they implemented it in their SA consoles as booster/mic amps. We use big octal tubes, a 6J7 into a 6C5 just like gates did. RCA and Langevin used almost identical circuits, but had a different tube for the output, a 6J7 into a second 6J7. These were the RCA BA11, RCA BA1A, and Langevin 116. The RCA ba11 and Langevin 117 spec out at about 1% distortion at +18 out, depending on the B+ voltage. The RCA BA1A specs at 1% distortion at various B+ voltages. +12 @ 280v, +10 @250v, +8 @180v. The OG gates SA70 is conservatively rated in their docs at 1% distortion at +6.5 with 180V b+, which is how they lived in the SA consoles. We do a bunch of tricks that increase the gain and headroom in our CA70. We hit both tubes with much higher plate voltages, which pushes them more into the sweet spot of their curves. This increases gain, headroom before distortion, and drive capability. We also spent a lot of time on transformer design to maximize the coupling that happens between the transformers and tubes. No poopy zobel networks on the input transformers like most modern stuff. We use variable negative feedback to not only tweak gain and timbre, but to also tweak the drive and reflected impedance of the output stage. Our output transformer was also specifically designed to just start to go into the onset of saturation at around +18, which is right at the top of most modern digital recording devices. Also, we labored over the three input pad positions to really be able to utilize that first stage saturation, a fixed single pad wouldn’t cover it. Now don’t get me wrong, if you cram a square wave into a coil CA70, it will not come out the other end looking like a perfect square wave. But when gently crammed in, that’s when all the yummy harmonics(aka distortion) happen, especially in the low end. A lot of classic preamps are like this, especially the American made stuff. It’s their imperfections, and sometimes “misuse” that we love the sound of. As far as overall all use and sonics, the CA70’s can be very clean, open, and hifi, and can have a huge soundstage. They can also be wooly AF and burly as all get out if you want. The CA70s in particular were voiced to sound like a properly calibrated 2” 16trk at 15ips. When in the stock Low Freq and Neg Feedback setting, they have a built in bump at around 60hz, some subtle saturation, and a gentle softening of the top end without the loss of detail you normally get from tape. Add more NF and you get more of the “Gaussian Blur”/tape effect. When you roll back the negative feedback, you get more harmonics, which add a forward presence to the sound, as well as a gentle hi end slope/boost that starts at about 9K and rises to about 3db up at 20K. They can also have the same instantaneous limiting characteristic of tape when you get the gain staging right. Like Doug mentioned, they can act like a gentle (or not so gentle) limiter. Just like a guitar amp, It’s all how about how you do your gain structure, and how dynamic the player/guitar is. Years ago, before Coil Audio, I drug a big pile of my modified vintage pres out to Sonic Ranch in El Paso for a session. All the house engineers thought I was crazy for not wanting to use their beautiful pile of Neve pres, and were assuming I was trying to make some type of vintage throw back sounding record. They were immediately surprised and impressed with how “loud”, in your face, and intimate everything sounded, like what happens when you compress stuff, but that it was still very dynamic and detailed, and didn’t sound ”compressed” or "vintage". They were looking at my waveforms and asking me what limiter/compressor I was using on the kick and snare, to which I replied, “none, it’s my gain structure”. I showed them how if you reduce the attenuation on the input, and start to pump signal into the first stage, you can get a “transparent-ish” limiting on the transients, much like tape. Set the input wide open and cram the signal into the first stage and you get a cool soft distortion on the transients similar to banging on a tape machine /transformer/limiter/etc. Then I showed them how when you increase the attenuation/padding on the input, and turn up the output, you loose that 1st stage saturation, all the original dynamics come back, and you still had the yummy harmonics and big sound stage from the tubes. Very few solid state preamps react this way, and give such large apparent volume and soundstage by very subtly limiting the dynamic range. See attached short paper “Tubes Versus Transistors- Is There an Audible Difference?” By Russel O. Hamm. It’s a brilliant read, only a few pages long, and only gets heady in parts. Russel worked at Fine Sound NY and was part of the super smart guy lab coat crew with Walter Sear and Bob Moog at Sear Sound in NY.These older, simpler tube circuits like we use at Coil definitely have a small bit of learning curve. It takes a minute to get your head wrapped around how they react with particular mics, on different sources, and with different dynamic ranges. When I started recording more and more to digital 10/15 years ago, switching to all tube pres made it a lot easier for me to not miss the tape machine. I found that I could get better transient control with tube gain staging than I ever could with tape saturation or solid state pres. Plus it sounded better and didn’t crunch the transients unless I wanted it to. I also found I didn’t feel the need to compress as much, and in general, stopped using compression on stuff I had almost always traditionally compressed…Hmmm… Any who, I digress… I’m assuming the mercury and weight tank are both based on the V72 circuit. This is also a two stage, single ended design with some fancy euro power distribution for the B+ due to the enclosed power supply and space considerations. The B+ is choke loaded, which can be a cool thing (think early fender champ power supply variations you guitar guys). Our CA286 is closer sonically and circuit wise to these guys, but without the choke loaded power stuff, and not nearly as much negative feedback (unless you dial it in). However, ours is a little more akin to the Langevin 5116, or a V72a with a few tricks and tweaks added in to make them more useful and dynamic. The smaller noval tubes we use in the CA286, the ef86s, are what give it its sparkly harmonics and saturation, and give it’s own special character when compared to the CA70.
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Post by Coil Audio on Dec 6, 2020 19:27:22 GMT -6
I really don't like the Coil Audio guys but I would say buy their stuff its amazing. </sarcasm> You misspelled "mind altering audio orgasm"
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Post by Coil Audio on Nov 21, 2019 11:25:40 GMT -6
There is a loss in detail, especially noticeable in the top end, and less extension in the low end. Might be due to how they're doing the DC blocking, cap choice, etc. There's also increased headroom before distortion in ours due to all the extra gas (mA/current) in the tank. Both Steve and I used the audio technica boxes at multiple studios for years. Always felt they we're very sturdy, put out an actual 48v (not some watered down lower voltage), and never felt they were a compromise at all... until we compared one with our first prototype. We were actually taken aback by how much of a difference. We weren't trying to reinvent 48v when we designed it, just trying to make a very robust, overbuilt, linear mic supply. Apparently even solid state devices like good stiff regulated power. Are you planning on putting the CP-448 on sale? Are there any plans for a cheaper 2 channel version? No plans to put the CP-448 for sale for BF but if you want to drop us an email we can put you on a list for b-stock deals on tradeshow demos etc. that come available a couple times a year. We might explore another 2-channel version sometime in the future - the issue is just the cost to do it correctly. We started with a 2-channel (the now discontinued CP-248) and when we saw that we could double the channels for only $55 more in parts and the same labor we just went ahead and did it to bring the cost per channel down to roughly where Rolls/AT and others fall in price. Whenever we can offer the end user a better deal - we do it.
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Post by Coil Audio on Nov 18, 2019 16:56:52 GMT -6
Yes you do - km84's are quite spectacular thru both circuits. As jamiesego said, rolls boxes work well and are a cheap workaround - we also recommend the discontinued Audio Technica CP8506 (atus cp8506) that can be found on the used market. Of course we make the 4-channel CP-448 which breaks down to a few bucks more per channel than a new Rolls but it is seriously overbuilt piece of kit compared to both those other alternatives (linear-regulated etc)- furthermore it can be also be used as a weapon against fascists. What would a I be giving up sonically by going with the Audio Technical over the Coil? There is a loss in detail, especially noticeable in the top end, and less extension in the low end. Might be due to how they're doing the DC blocking, cap choice, etc. There's also increased headroom before distortion in ours due to all the extra gas (mA/current) in the tank. Both Steve and I used the audio technica boxes at multiple studios for years. Always felt they we're very sturdy, put out an actual 48v (not some watered down lower voltage), and never felt they were a compromise at all... until we compared one with our first prototype. We were actually taken aback by how much of a difference. We weren't trying to reinvent 48v when we designed it, just trying to make a very robust, overbuilt, linear mic supply. Apparently even solid state devices like good stiff regulated power.
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Post by Coil Audio on Nov 18, 2019 12:27:03 GMT -6
It is very different. A CA-286 would very much compliment your CA-70. You would be very happy. Ultimate vocal chain? Free Tube De-Essing? I gotta get some phantom power to those. Been wanting to use my km84 into my CA70 on multiple occasions. Yes you do - km84's are quite spectacular thru both circuits. As jamiesego said, rolls boxes work well and are a cheap workaround - we also recommend the discontinued Audio Technica CP8506 (atus cp8506) that can be found on the used market. Of course we make the 4-channel CP-448 which breaks down to a few bucks more per channel than a new Rolls but it is seriously overbuilt piece of kit compared to both those other alternatives (linear-regulated etc)- furthermore it can be also be used as a weapon against fascists.
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Post by Coil Audio on Nov 17, 2019 18:41:01 GMT -6
Hey RGO gang - We will be doing a similar deal this year - BF thru CM. Would you say the 286 is similar in topology to the V72? Wondering if a second CA70 would be more beneficial (mainly for running stereo tracks during mixing), or adding a single 286 to my CA70. I have a Tab-Funkenwork V72S, so I have that sound covered. It is very different. A CA-286 would very much compliment your CA-70. You would be very happy. Ultimate vocal chain? Free Tube De-Essing?
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Post by Coil Audio on Nov 17, 2019 12:00:36 GMT -6
If Front End has that same Coil Audio deal as they did last year, that’ll be hard to pass up. Either another CA-70 or the 286 would be sweet, though I don’t need either. Hey RGO gang - We will be doing a similar deal this year - BF thru CM.
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